Contents: L’Accord Partait en Amour: Incidental Notes to the Graphic Music of Balzac’s Paris; A Portfolio of 19th Century Lithographs and Wood Engravings from F.V. Grunfeld’s collection; Music: Je Pense A Lui – Pauline Duchambge, arr. F. Carulli; Gais Matelots, Pauline Duchambge, arr. M. Carcassi; Theme Varie, Antonio Nava; Le Matin d’Une Soiree, Charles Plantade, arr. Meissonnier “le Jeune”; Je Ne Veux Plus Aimer, G.P.A. Gatayes; more

1978 Summer Guitar Review #44 Classical Guitar Magazine Back-Issue available at www.GuitarPulp.com

The anonymous artist of this eary nineteenth century print has emphasized the parallelism of related forms – Empire decollete and pear-shaped guitar.

Left: La Musicienne is a Spanish maja, the subject of literary studies by Gautier, Merimee and Dumas, and of brilliant pictorial reportage by Constantin Guys. The inlay work on her Spanish guitar seems a trifle overdone, even for a pre-Torres model. Right: Cecile, of 1843, is the work of Eduard Clemens Fechner, a Silesian artist (1799-1861) who settled in Paris in 1825. The French caption on the original print is translated: “Alas, where is the melody that can express the song of my heart?” It is doubtful whether she will find it on this guitar, with the frets on the wrong side.

Left: Published by Lemercier in the late 1830s, this popular French lithograph is signed “A. Gigoux,” though in fact it is merely a sentimentalized copy of Sir Thomas Lawrence’s famous portrait of Elizabeth, Lady Wallscourt. Right: Title page of a Methode de Guitare by Charles de Marescot, a Parisian teacher and composer best known for an album of teaching pieces entitled La Guitaromanie. The central figure is surrounded by English, French, Italian and Spanish “troubadours.”